“Wonderchamber,” the new video by Brooklynʼs Psychobuildings, creeps along like an arachnid lullaby poised to disintegrate into a danceable labyrinth. Subtly political, its Nietzschian lyrics deadpan the sensual allure of an omnipresent cult leader who speaks with “glitter in his pockets” to crowds more than willing to drink his kool-aid. Psychobuildings leader Peter LaBier prances across the singleʼs video in a shirtless jiggle, gently balanced by the kaleidescope ballet effects that brings to mind Damien Hirshʼs larva collages. When LaBier emerges halfway through in a psychedelic unitard, the whole affair feels somehow enlightened and utterly irresistible. Five live shows during CMJ last week cemented the bandʼs devil-may-care aesthetic to dizzying response. - Brian Chidester
"Uptempo" and "Pop" are by themselves two concepts that - in the business of being an indie band - can take you quite far; but if on top of that you add to the equation also comparisons to The Smiths, then the hype can get out of control. Brooklyn's Drowners have more than one similarity with Morrisey's act, and although they will surely feel belittled by such comparison, they should not, because no artists really managed to be The Smiths' worthy musical heir yet (like, for example, XTC were for The Beatles, Robin Hitchcock for Syd Barrett, and The Strokes for Lou Reed - uhm, maybe...).
The band's 3 songs debut EP features the remarkable single "Between Us Girls" (streaming below) which immediately throws us back to the days of "Meat is Murder," with the electric guitar alternating between jangly parts and arpeggios, and Welsh frontman Matt Hitt singing semi-melancholically about some girls' hair length - rather than about how big they are... The edge is slightly punkier, while the songwriting reveals an almost clinical concision (the song clocks in just under 2 minutes, with the first chorus coming in after 26" - A&R allergic to intros will dig that).
The second song, "You've Got it All Wrong," beats a similar musical path, tackling the infinite well of inspiration that (for Brits) is life at the pub, with the difference of a slower bridge, which acts as a breather for the final chorus. Final track "A Shell Across the Tongue" is the punkier of the bunch, but also the one with the least memorable melody.
This is obviously a band with enormous songwriting potential. If they'll manage to write songs as good as these and integrate their influences in a more mature and personal sound, the world can be theirs. - PDG
